Restless

Description

Flute 1, Flute 2, Oboe, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Horn 1, Horn 2, Trombone 1, Trombone 2, Euphonium, Bb Euphonium, Tuba, Mallet Percussion 1, Chime, Vibraphone, Mallet Percussion 2, Marimba, Bells, Timpani, Percussion 1, Snare Drum, Bass Drum, Percussion 2, Tom-tom, Percussion 3, Suspended Cymbal, Crash Cymbals, Percussion 4, Tam-Tam, Hi-hat Cymbal — Program NotesRestless emerged from an experiment arranging Carol of the Bells with bold statements of the Dies Irae*. Since college, I've been fascinated by the Dies Irae and how its first four notes have survived centuries to become one of the most frequently quoted melodies in compositional history. This simple yet powerful theme appears in countless concert works, film scores, and video games. Sometimes as an obvious statement in the low brass, other times more subtly woven into the fabric, making listeners wonder whether the composer intentionally embedded this ancient harbinger of doom. On rare occasions it sneaks up on the listener, hiding in a more interesting rhythm or starting on an unexpected scale degree, like the mysterious voice from Into the Unknown (Frozen II) or the ostinato of Carol of the Bells. After an initial burst of creative energy, I set my experiment aside, but picked it up again a few years later with the idea of expanding into other minor modal carols, finally landing on God Rest Ye Merry Gentlemen. While working on Restless, certain musical passages would cycle through my mind during sleepless nights, creating a sense of restless energy that inspired the piece's title. These moments represent the tension between anxiety and calm resolve—the musical equivalent of taking a deep breath before stepping into a storm. As a listener, I imagine myself as a transient witness to a midnight journey across a vast desert landscape. A subtle shimmer begins, like moonlight reflecting off the scatter stone, as the mallet ostinatos create an almost hypnotic texture that draws us into the nocturnal scene. In the distance, we spy a group of mysterious riders surging forward through shifting sands. As they grow closer, the music captures both the relentless forward motion and the occasional pauses where the riders might scan the horizon before plunging back into the darkness. Just as the ancient Dies Irae melody has traveled through centuries of musical history, these riders carry their own urgent message across the timeless desert, eventually fading into the distance as mysteriously as they appeared. Uncovering a story is one of my favorite parts of listening to a piece of music. I’m always curious to hear what other people imagine as they listen to the same piece. In fact, I would love to hear what you imagine as you listen to this piece!*A Brief History of the Dies IraeThis Dies Irae is a piece of Gregorian chant, thought to have been composed sometime during the 13th century, though it may be older. The text comes from a medieval Latin poem which describes the Last Judgement as part of the Roman Catholic Liturgy, specifically the Requiem Mass. The melody was famously quoted in Berlioz’s Symphonie fantastique, where it became associated with themes of terror and death.Performance NotesWhile conducting the piece myself, I found that I leaned towards macro patterns or conducting in one rather than switching frequently between 3/4 or 6/8. With that in mind, I encourage you to consider the frequent time changes as informing pulse and emphasis in each measure, rather than dictating a conducting pattern, though for some moments, the energy behind those smaller patterns might be beneficial. Similarly, a big element in this piece is the juxtaposition of two against three, or three against two, also known as hemiola. Consider drawing out those moments of contrast. The mallet percussion parts are perhaps the most essential at the beginning and the end, where they provide an important textural element. In the louder, more bombastic parts of the song the mallets parts are more often doubling melodic or accompaniment lines so, if you have fewer percussionists, it may be helpful to prioritize a combination of the battery and auxiliary percussion. Similarly, the metallic auxiliary percussion adds an interesting and different element. If you can’t cover all of it, aim for balance between the different timbres. In a pinch you probably don’t need snare, toms and timpani as much as I love the power of those combined parts! Restless weaves together Carol of the Bells with the ancient Dies Irae theme, using hypnotic mallet patterns and driving rhythms to capture the tension between anxiety and calm. The music evokes a midnight desert scene with mysterious riders moving through shifting sands, featuring restless forward motion and moments of reflection that engage performers and audiences alike. Ideal for advanced ensembles seeking fresh repertoire that connects centuries of musical tradition with contemporary energy.

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